Theory
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From the discussion in class, a point Malu raised is the binary between emittor and sensor. There is always from the point of view of the subject a binary between the subject itself and an object receiver or emittor of data. Thinking about this relationship, there are singulars that are produced from the multiplicities of
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The Uk Black Arts movement grew out of the Post-Colonial state which was concerned with the impact and implications of colonialism on the current state (A Post ‘-ism’ being the transformed presence of the ‘-ism’). The mid 20th century saw global independence movements from British rule to self-governance including the Indian and Kenyan Independence movements along
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Conceptualism grew from the misprisms (the creative misreading of a former art form) of Minimalist art. The concepts behind the minimalist works such as those by Carl Andre or Dan Flavin were opened up as the work rather than looking solely at the object itself, this was the dematerialisation of the art object. An irony
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Maurice Merleau-Ponty expressed that outside things are ‘encrusted in the joints of my body’. Robert Morris expressed a similar sentiment in his essay ‘Notes on sculpture pt.2’ where he talked of how we experience sculptures though our movements around them, e.g. the way we compare ourselves to the monumental, step back, get up close and
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Session 3 began with a question on our behaviours: ‘When do I cry?’ For me the answer is not often, although I may want to or be in a situation that makes me sad and tear up, I can’t actually cry unless in very extraordinary circumstances. This is because it is a learned behaviour I
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Rosalind Krauss in her article ‘Allusion and Illusion in Donald Judd’ criticises Judd, who believes in creating works with no allusion or illusion, saying that his work does allude to other things. Allusion can be a property of the thing itself (e.g. I recognise a bottle because I know bottles because of my culture. Do
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Towards the middle of the 20th century Modernism was becoming the dominant movement in the Avant-Garde. One critic in particular believed it to be the destiny of Art to be brought to its ‘purist’ form through the guise of modernism. Clement Greenberg described his idea of ‘purity’ in the arts in his 1961 essay ‘Modernist
Robin Leverton 